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tv   Democracy Now  LINKTV  May 7, 2014 3:00pm-4:01pm PDT

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( musi) rrat in 199 the national galler ofrtn washington marked t 3 anniversary of the dea of thpainter sir anthy van dyck wi an extraoinary exhibition of about 100 paiings and oil sketches, gatherrom collections arnd t world. born in 1599, van dyck's remarkable career took him from his native flanders to italy, and then to england as court painter to charles i, before the artist's death there in 1641. reesenthll range o van dyck's artistic creation, which allowed us to realize the imposi s of many of his compositions,
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react to the sensuous color, and perceive the touchf the artist in the rich brushwork. the pangthemselves cam. in this program, we'll try to recreate the experience of the exhibition itself, moving through the various phases of van dyck's career and discovering his magnificent art. van dyck's earliest family portrait sets the stage for our look at the artist's life and rk. itaintedn 19 in anerp, when v dyck was only about 20 yearsld. in this close-knit group, we sense intimacy and informality. the child looks up at h fatr, who leans protectively toward his young wife and daughter. this deep sympathy for families would be one of van dyck's great contributions to the art of portraiture. in 1609, when van dyck was only 10 years old, he apprenticed with a painter in his native city of antwerp in the southern netherlands.
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by t time he was 16, his skill and talent allowed him to join the workshop of leing arti of the day, peter paul rubens. rubenscomplex compositions, such as these with their sculpturally modeled figures, greatly influenced the young artist. but even in van dyck's earliest works we see the artist's own distinctive stylemerging he painted this scene of st. jerome when heas about 16. instead of the heroic figures of rubens, van ck chose to show the hermit saint as a man past s prime. though van dyck based his composition on a work by rubens, the young artist painted it difrently, applying his paint thickly with rough, broken strokes, exaggerating the naturalism of the biblical scene. in another version of the same subjec painted just a few years later,
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van dyckortrays st. jerome in y a diffent mner. in a moment of deepreligio, the saint is about to strike his chest in penance ( oir singing ) this interest in psyogal intensity, human emotis, and cral moments wou mark vyck'wo hout h ceer. van dyck again looked to a work by rubens for inspiration. but once again, he interpreted the story in his own manner. van dyck chose t represent the moment just before the philistine clips samson's hair and robs him of his strength as delilah andhe oer conspirators watch anxiously. the composition may have seemed too compressed to a later owner: a strip was added along the upper edge
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to enlarge the pictorial space, effectively releasing some tonalnergy thecene. in this exhibition,we dcord that changes were often made to van dyck's works. another ofhe artt's early religious paintings, "moses and the brazen serpent," was also altered, as we can see by comparing the size and format of the painting to a contemporary copy. compositional changes were also made by the painter himself. these pentimentiane seen van dyck's "martyrdom of s sebasan by looking close, it is possible to se a vague indication ofhe rider'st as the artist originally placed it. diovering this change helped to establish tuthenticity of this oil sketch and to identify it as van dyck's preliminary study. sho the original position of t soldier's foo over time, the surface paint became translucent,
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allowihe artist's earlier lution to become vible. in 1620, v dk spent four mons in england. there, he painted portits, such as this fanciful allegocal image t de of buckihamand bride. onis return tonthe painted these portras, which once again revealed the young artist's sympathy for children and his unique sensitivity to the psychological character of his sitters. van dyck painted this portrait of rubens' wife a parng gt hior, ir garn. inhe fall of 162 vacktwerp sndix yrs in alya the poet compositis and ri brushwork of the 16th-century master titian
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appealed to the flemish artist, as did his penetrating portraits. in a sketchbook that he kept as he traveled, van dyck recorded works by the venetian artist. these drawings would later provide ideas and inspiration. the influence titian had on van dyck's interpretation of the figure is evident in van dyck's painting of george gage, an englishman whwas in ity to acquire worksf gage's body not froal but inead turns in spa, making the compositi bold and lifelike. the artist's own character and his attitude toward his art are revealed in this marvous self-portrait, painted shortly after n dyck's arrival iitaly. as a contemporary wrote, "his manners were more of an aristocrat and he was resplendent in his rich dress and accessories." the young painter looks out at us,
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self-assured, certain of his position and confident in his ambitions. during his stay in the prosperous port city of genoa, van dyck received nurous commissions from its patrician society for portraits, as well as for mythological and legorical es. thesare infused th a caquity ve different from compositions hhad made elegce and grace learned from titian marked theortraits van dyck created to araize genoese patrons, including his remarkable image the mchesa lena grimaldi. the marchesa sms to stri o onto patio. van dyck intduces a new sense of movemt to whahaen a traditionof rigid. van dyck's genoese portraits were intended to be hung up high,
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over doors in palaces. because they were ewed from a distance, the artist painted them very thinly and very quickly. here, van dyck suggests the intricate fabric of tng b's inoaroofedndte, painted directly over the ochre ground. the mothern ofe solemn and. the boy poses confidently, yeevenis aristoatic portrt van dyck introduces a delicate tenderness. at the end of 1627, van dyck returned to antwerp. the portraits he painted during this period reflect the solid bourgeois character the sitrs. vadyck'sortraits reve stle aspects of hisitters' complex personalitie
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in paired portraits, he explores thnoti beeen huands and wives,ct and, once again, the relationship betwe pare. a wonderful naturalism marks van dyck's paintings during ts period. thfigures veryuch alive. isortrait of the butiful maria uisae tais is infused with an air of ease and informality. her marvelous, captivating gaze conveys the vibrancy and warmth of her being. this effect of immediacy is underscored by van dyck's fluid brushwork, the way he paints her fashionable costume-- the slit sleeve and the delicate ribbons
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large-scale religious works were in demand by chches in antwerp, ere the counter-reformatio had a stronghold anars met inspire ep invvet in this large altarpiece, vadyckhose to focus on st. augustins reaction to hisystical vision. thsaint els ck, experiencing a moment of religious ecstasy before a vision of the holy trinity. by the wonderful angels that hover above holding symbols of god's power, uny and eternity. van dyck's religiousls works from this pe encourage devotion with their intimate, tender images.
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timacynd tendes soinfuse van d, "rindo a armida." inired by a 16th-century epic poem, the artist again chose to represent a romantic ratrthan . a water nymph has lulled one of the warriors to sleep wither singing. armida, a soes from the underworld, sweeps in to kill the helplesser but instead she fall deeply in love. commissied in 29 e work commoratede 'sriage. van dyck w invited to england t. in england, van dyck created works
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that conveyed the king's role as divine monarch and that, with his french queen henrietta maria, omoted an image of peace and harmony. in this double portrait of the king and queen, henrietta maria offers charles the laurel wreath of victory. she lds an oli sig repres peace. these symbols alluded to the stability of their reign. an unusual portrait representing the monarch from three different positions was intended to be sent to the italian sculptor gian lorenzo bernini as a model for a bust of the king. van dyck's skill is evident not only in the sensitive characterization of the kin, van dyck's skill is evident t also in hitrtment ofhe erateostumes. seems to be infused with religious symbolism. it suggests the holy trinity's three persons in one god
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and conveys charles' claim to rule by divine right. in london, van dyck established a large workshop with many siants to produce the enormous mbfs demanded by thcrow he also worked for other mbers of the court andristocracy paintings of the earl of arundel, robert rich, and james stuart reflect the ambitions of van dyck's patrons as well as the courtly ideals of the time. 1634, thertist turned toouthernetherlands, hoping for more prgious histy commissions and perhaps an appntment as crt painter. there, he produced this magnificent equestrian portrait
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of t provisional governor,the . a re introsptive character pervades an image the prce's advisor the abbe scalia. van dyck portrays him as a commanding individual, experienced yet world-weary. at the artist's busy workshop, subjects posed for only a short time. they would leave behind costumes or armor so van dyck could complete the painting at his own convenience. around the head of scalia, we can see a kind of halo marking the area the artist painted from life. scalia himself commissnedthis n as an alrpce for a urchn antwerp. it is van dyck's last surviving religious painting. in a constricted fort, he presents the dead body of christ and captures the full pathos of mary's intense sorrow.
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ter spending abo a year in fl van dyck returned to england in 1635 the tist chose an unusual oval format to emphasize the bond betwn enon porter...and hif. sung theirmfoundation of er loanng fridship. van dyck only remainingmytholok from his english period, probably painted for the king and qen, ishiwonderful poetic image representing the myth of cupid and psyche.
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psyche, a autil mortal, was sent by venus to the underworld to meet with persephone and bring back a box containing the secrets of her beauty. when the curious psyche, she fellnto deathlike trance van dyck depicts the moment cupid diovers her and reacs down to wipe the sleep from her eyes. psilake to fall in ve with pid and be raiseto immortit the gods. e of tost poigna of l of van dyck's painting isiesh poraitofwoen brought toe to share a tragic ss. om kilgrew res his arm on the base a brokecolumn, mbol of foitude and deh. a ag that d ged loon had claimed his young wi
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in her memore unr wedding ring to s ist and pinned cross over h hrt. in an image as eloquent as an elegiac sonnet, van dy includes the wife's brother in the composition, as if to offer solace to kiegrew inis deepest gef. van dyck portrayedhe english court as it saw itself, but the urt's ideals gave way to harsh realities. by the end of the 1630s, scotland was in revolt and the rule of charles i was threatened. ofan dycs last works ts theanosen by chles the earl of strafford. ortly after van dyck coleted this work in the spring of 1640, the litical situation in england reached a cr. in 1641, the r famywaforced toe
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the earl of strafford was executed and civil war broke out. van dyck, himself in ill health, died later that same year at the age of only 42. the artist's legacy, his elegant portraits the ialtic glish urt ancotis-- van dyck's mos faus works-- would influence painters for generaons. here we have discovere only a few of the paintings from van dyck's remarkable career: ambitious compitio fmhis early; works produced durg his six-year sojourn in italy, marked by th elegance and grace; magnificent ligious paintings
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tend mytholol works;othe englii as well as images that served to define the english court for future generations. van dyck's portraits revealed the artist's unique sensitivity to the character of his sitters, his ability to capture the innocence of children, and to suggest bonds between family members. the exhibition its revealed how very rich the artistic legacy of the flemish master, in fact, is and has allowed us to truly appreciate in a new way the contribution of this great master, sir anthony van dyck. ( music )
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annenberg media ♪ by: narrador: bienvenidos a otro episodio de destinos: an introduction to spanish. primero, algunas escenas de este episodio. ino me grites así, juan! ya traté de explicarte los problemas de la producción en nueva york. no entiendo por qué actúas como un niño mimado. sólo roberto podría escoger una profesión tan peligrosa. ¿por qué no estudia

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